^S 836 
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so THIS IS THE BOOK ABOUT 
INTERIOR TRIM OF GENUINE 
CALIFORNIA REDWOOD IN 
MODEST HOMES, IN ELABO- 
RATE HOMES, AND IN PUBLIC 
BUILDINGS: SUGGESTING ITS 
VARIED YET UNVARYING 
BEAUTY, ITS DISTINCTION, 
ITS GRACEFUL DIGNITY OF 
GRAIN, ITS RESPONSIVENESS 
TO DIVERSE ARTISTIC TREAT- 
MENT, ITS SYMPATHETIC HAR- 
MONY WITH ANY TYPE OF 
INTERIOR, ITS EXCELLENT 
"WORKABILITY," ITS UN- 
EQUALLED FREEDOM FROM 
THE WARPING AND SHRINK- 
ING TENDENCIES OF SO MANY 
WOODS, AND ITS ECONOMIC 
ADVANTAGE AS RELATED TO 
MORE COSTLY YET LESS DESIR- 
ABLE FOREIGN "TRIM WOODS." 



WITH THE COMPLIMENTS OF THE CALIFORNIA RED- 
*WOOD ASSOCIATION, SAN FRANCISCO, CALIFORNIA. 



'CI,A41999G 



FEB -5 1916 



/z ^>^ro//u?r/iooc\ 




- ULhrascoor/n. 




^/nen ts tY ayrony to c^t^y '//-w coa/ o/l^arYn!'' 

^ rPveren//Y o'on6\ /or owa/ o/rnan, 
^JTie Joa/n q/ /rees j6pcomes anoY/i,?rj6tr^A,\ 
./Y j6tr/h o/ use , o/ jGrvic& - coi//i ^ a Aeau/u 
^)tsht7c:^ 'tn Artnc^ , //^/ o/ a 6roao\ r awr/A ". 

Copi/right, 1916, by Cfosby-Clricaffb, Inc., (Pullman Build, vg) — ; Y-SQ-C. 



. aA\ 3\o'na"\<^c\o i\W ^oy^ ioiW sc^oA 



©CI.A4I:»:'.H, 

FEB -5 1916 




- UlJoroscoor/n. 




a /o (^la /ne coa/ o/ ear^A/ 



^JTzen zf tV corony to Ciy 
^^^// rpvererir/y aone,/or cDea/ q/ rnan, 
S^Tie ^ea/n q/ /rees h& comes ano/ner j6tr/A; 
^yr Atrrn o/ use , q/ service - qji/A a neau/y^^ 
lL)ts/tnc/ tn Atna , t/er oA a Aroa^er coor/A ". 



EASY REFERENCE TO WHAT FOLLOWS: 

This page is an informal digest of the interesting and valuable 
Redwood facts contained in this book — which we present 
for the enjoyment of all lovers of beautiful interiors and for the 
economic benefit of those who care enough about cost to intelli- 
gently insist upon superior material values as well as art values. 

About Redwood, "Nature's Lumber Masterpiece:" 

Page Page 

"The Importance of the Inside". . 3 "Use Redwood Only Where Best" 22 

Selection of the Wood Trim 4 Appreciating Natural Wood 23 

" Inside is Where We Live" 5 Japanese Impressions 24 

" Exteriors are to Please Others " 6 Redwood "Flame Treatment " . . . 25 

" Before Choosing Furniture". .. . 7 Beauty by Simple Means 26 

An Editorial Quotation 8 "You Cannot be Commonplace" . 27 

A Sane Redwood Enthusiast. ... 9 Stain Enters Softer Pieces 29 

Various Kinds of Redwood 10 " Easy Working;" Wide Range ... 40 

Redwood Walls at "Darlington". 11 Adaptability to Refined Uses.... 42 

Present Trend of Taste 12 Remarkably Wide Panels 45 

Occasional Desire for " Burl ". . . . 13 " Short Lengths " and Economy . . 46 

Soft Wood for Fine Interiors, and "The Older the Stronger" 49 

"The Crime of Artificial Grain" 15 Fire Resistance; Plenitude 50 

White Enamel " Behaves " 16 Artistic Latitude; Painting 51 

When Libraries are Our Friends . . 17 Suggestions for Treatments 52 

Redwood Panels (and pantries). 18 Recipes for Rare Finishes. . .53 to 59 

"The Home is Part of Us" 19 Famous Architects' Letters. .60 to 65 

Regaining Architectural Sanity. . 20 Government Reports (excerpts) . . 66 

" Enthusiasm vs. Experience "... 21 Instructive Letter from Peru 67 

Country-wide Examples of Redwood Interior Trim: 

Photographs illustrating its great variety of use and growing popularity. 
New Jersey, pages 4 and 5; San Francisco, 7; Michigan, 10 and 11; Cali- 
fornia, 8, 9, 12, 13, 14, 15 and 16; Minnesota, 17; New York, 18 and 19; 
California, 20 and 21; Connecticut, 22; California, 23 and 24; Wisconsin, 
29; "Everywhere," 26; San Francisco, 30; Los Angeles, 39; Mexico, 40; 
California, 41, 42 and 43; New York, 45; New Hampshire, 47; Woodland 
Scenes: An Average Redwood and An Average Man, 6; Among the Red- 
wood Giants, 28; A Sentinel of History, 68. 

Ten Four-Color Reproductions 

picturing Redwood in its natural state and with a few of its most winsome 
and practical finishes. (15 additional recipes are given but not illustrated.) 

THE REDWOOD SERVICE BUREAU: 

If we succeed in doing for you, and for other readers of our adver- 
tising, even a part of what we are trying to do, we shall feel com- 
paratively well satisfied — and hope that you will, also. Our pur- 
pose is to maintain in this department a genuinely personal and 
invariably dependable service, which shall fortify the favor 
which this wonderful wood earns for itself, and shall add to your 
affection for its beauties a complete reliance upon its rare qualities 
of "good beha*'ior" and a sincere respect for the exceptional 
economies related to its use. 

Write us freely of your plans — and your hopes. Let us aid you 
in your planning^and in your hoping. Let us show you in detail 
just why REDWOOD is best for YOU — when it is. In cases 
where some other wood is better for you, let us tell you that. 
In short, rely on us {or facts only — facts of value, of encourage- 
ment and of bright confidence. Write us openly — we will reply 
in the same spirit — and we all shall be gainers by such frankness. 

Please address "The Service Bureau" of the 
California Redwood Association, San Francisco, California 



I'lU/C Iwo 







(snarac/e 



m\ 






\l 



ii 




aracrer 

/ne Jfouse fs 
QDe/er/mnea oyi/s 
j7n/ertor ^rim. 

THE INSIDE OF THE HOUSE is more 
important than the outside; it is hiteresting 
to consider that the only purpose of the out- 
side is to keep the weather away from the 
inside. 

Upon selecting the site, you discover that 
the portion of the atmosphere which is 
destined to become the Interior of your home, 
a7id which you plan shall on some early day 
become imbued with the mellow flavor of 
beautiful rugs, pictures and hangings; which 
soon shall be warm with the thige of hospi- 
tality, sweet with the aroma of grace and 
love and dignity, and likely resonant with 
the laughter of children — this prospective 
cubic content is now but an indistinguish- 
able part of the great expanse of outdoors! 

So, to rescue, as it were, the inside of your 
house from the i7ifinity of space, you hur- 
riedly yet carefully box it in with walls. You 
do not thereby Create an inside — for it 



1 ! 







t^v 



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Page Three 



At L.^j>j^m A 




N A T ,y K- ^ ' S L U Mj BE R- J^f^ S T E ^^^^^ 1^^. C^f . ^' ,, , 




r "^ hi 



m i\i 



The Garden Front; "Darlington," Residence of Emerson 
McMillin, Esqr., in New Jersey. Mr. James Brite, Archi- 
tect, New York. {Illustration of Interior on Facing Page.) 

was the inside that existed first in your 
dreams; you merely define it and make 
visible to others what before you alone knew 
the form and look of. Is 7iot all this true? 

The inside, then, really is about all there 
is to the house, as far as living is concerned, 
and the interior finishing and furnishing 
together are the vital part of the task of home 
creation. 

Immediately we gra?it these foregoing prem- 
ises, we miist acknowledge the superior 
importance of our discriminative selection 
of the most beautiful a7id adaptable wood 
for the "interior trim'' of the house we are 
to be so proud of for the rest of ozir lives. 







;!,■/ 



if' 



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BEAUTIFUL ,ENDUR.ING , FI U-E -RES I STANT , SANiT^R^Y 



-^ « 




r/zf Dining-rooyn at "Darlington;'' the Entire Interior Exe- 
cuted in California Redwood. Note the Superb Carvings and 
Wonderful Breadth of Panels {Indicated at Right of Picture). 

Inside the house is where we Hve. Inside 
the house is home. What we have inside 
the house, and what we do inside the 
house determine the kind of home we 
have and the kind of sentimental and 
moral heritage which we bestow upon our 
children. 

It is true that the outside of the house 
and the grounds surrounding it (if there 
are grounds surrounding it) are contribu- 
tions to the memory of "home," and that, 
altogether, they constitute the homestead; 
yet, although we beautify the exterior of 
the house and embellish its environment 
primarily for our own pride and happi- 





ly IfMWf/f^^-^^ 



i-'^wmmam-s- 





NAT TJ R."E' 







L U M! B E R. M A S T F, 1^ P 1 E C E 






Butt of a Redwood Log, (stripped of bark) Showing the Prepon- 
derance of Heart-wood over Sap-w'ood. The "Heart-wood" 
is the Characteristic and Valuable Part of Any Tree. 

ness, is it not true that in doing so we 
have somewhat in mind the impression 
upon our neighbors and upon ahen passers- 
by? Is it not true that to an extent our 
homestead exteriors are designed to please 
the multitude? Is it not equally true that 
the interiors of our homes are for our- 
selves and our close intimates in much 
larger ratio to our whole purpose than 
are our "outsides?" 

If we grant this much, may not we grant 
the prime need to us (who either are 
building, or about to build, who con- 
template building, or who hope some time 
to build our own home) of a very early 
and very careful study, and deliberate, 




TIT 



I 'age i,ix 



BEAUTIFUL, END URGING .FIRE-RESISTANT , SANITARY 




Rich in Quiet Dignity. A Corner of the Panelled Redwood 
Ceiling in Lodge Room No. i, Masonic Temple, San Fran- 
cisco. Messrs. Bliss and Faville, Architects, San Francisco. 

Y\ ilitl positive choice, of the kind of wood to be 
' ' ' used as the interior trim of our homes? 

Our choice on this point comes before our 
'i choice of furniture, or pictures, or rugs, 
i or other objects of art, and, if we are 
wise, it influences, when it does not actu- 
ally determine, all of our subsequent 
choices in other fields of selection. 

A certain famous architect once wrote in 
a letter to a friend "IXIy preferences (for 
California Redwood) are rather hard to 
analyze, beyond stating that the general 
effect of the interior of a living or dining- 
room finished in Redwood produces a most 
satisfactory and restful effect, and the 
result of its use is so pleasingly homelike, 



lliii^ a 





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I'diic Srvrii 



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The Restful Effect of an i'lii-fliiVi'd Kedicoud Intiiio). 
Residence of Otis Johnson, Esqr., Fort Bragg, California. 

that I often choose it in preference to the 
more expensive hardwoods." 

Singularly enough, an editorial writer in 
the House Beautiful magazine expressed 
the same subtle effect impressed upon 
the sensibilities of home-lovers by Red- 
wood interior trim, by asking, in the 
midst of a critical article mentioning 
many other species of wood, "What could 
be more deliciously wholesome, cleanly 
and homelike in its effect on the senses 
than natural Redwood lightly waxed?" 

Illustrative of the need of this book, it is 
with unusual satisfaction that we quote 
the following from the December, 1912, 



.?"Ts«^iij\"nH I 





^^ Ji ■ 



Page Eight 




it 



fee A ^JJLPJ^^ I A 

ACDWOOH 



m- 



'1 



, ENDUR.ING . FIRE -RESISTANT , SAN 1 T A, a,Y 



Another All- Red'i.vood Vieiv in the Hospitable Residence Illus- 
trated on the Facing Page. Mr. F. J. Matirer, Builder. 

issue of the Architectural Record, (New 
York) than which there probably are few 
better American authorities: 

"With California Redwood for interior 
decoration, eastern architects and builders 




•'- r'fp?i;^\|iVi 




**T*^1' Mil n/fi II nmiaij ■ 

/'i/.i/t-' ISinc 




Residence for Michael Cudahy, Esqr., Mackinac Island, 
Michigan. Mr. Frederick W. Perkins, Architect, Chicago. 






are practically unfamiliar, so rarely is it 
used this side of the Mississippi. Nowhere 
is its beauty and utility so richly or 
effectively demonstrated as in the dining- 
room of Georgian splendor" (in "Darling- 
ton" the country estate of the late Mr. 
George Crocker, later the property of Mr. 
Emerson McMillin, among the Ramapo 
hills of New Jersey). 

"Three varieties of Redwood are used: 
the burl, w^hich is the root of the tree; 
the straight and the curled grain, ^^/ootnotl.) The 

{Ed. NOTE — The magazine zvriter was in error on this point. 
Burl is not the root of the tree. Please refer to pages ij -14.) 



i'liyc 1 cii 



"■':\\q_\i f-r^: 



^liliilAl. 



BEAUTlFUL.ENDUr-tING . F I RE. - RES I STANT , SANITARY 




The Impressive Entrance Hall in the Residence Shown 
Opposite; the Panels and Trim are of California Redwood. 

markings which lend such varied beauty 
are secured by a pecuHar way of sawing 
the wood. 

"The walls are a series of great panels with 
moulded frames, between which are pi- 
lasters carved in high relief. These pilas- 
ters support cornices, also elaborately 
carved, and which give way at the end 
to Corinthian columns. Over the fire- 
place of black, green and brown marbles, 
is an elaborately carved over-mantel. This 
huge and elaborate oral design is carved 
out of a solid block of Redwood and is 
the work of an Italian of twenty-six." 




\\\ ■■:■■ 



r 









II 

s 

k 




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Redivood Room in Reside^ice of Edivard C. Ray, Esqr., 
Santa Barbara, California. Mr. E. Russel Ray, Architect. 
Redwood's Singular "Homey" Quality is Well Shown Here. 

(On page four you may see an exterior 
view of "Darlington," and on page five 
a view in the dining-room, showing at 
the far end the fireplace above described.) 

Lest we all should become imitative of 
the rare exception, and so destroy the 
excellence (and retard the advance) of the 
average taste, it should be said that the 
general trend of present-day cultivated 
artistic judgment is distinctly away from 
the "freakish" curly or bird's-eye grain, 
and also from the "louder" effects of 
"slash" grain in wood for tasteful interior 
trim. The favor of those whose judg- 





mm 







Page Twelve 



HCHwttflll 



i& 



!f^\f 






Redwood Dining-room of Mr. Lewis P. Hobart, Architect, 
San Mateo, California. Notice the Panels Five Feet Wide. 
Finish is an Inviting, Warm, Greyish-Brown {Acid Stain). 

ment counts most is going to the quieter 
effects attained by the "vertical" or 
"edge" grain method of sawing, or to a 
combination of the vertical grain with 
the milder examples of flat grain in the 
same piece of Redwood — as often occurs. 
(It is only rarely that a wide board can be 
found which is all strictly "edge" grain.) 

The bizarre figure of "burl," "curly" and 
"bird's-eye" in wood grain is wearymg 
to the senses if overdone; this is almost 
true even in a rich and consistent setting 
such as is afforded in the Jacobean palace 












i " IS A T XJ R- E ' S L U Nii a E rt- M A S T E li P 1 E C E 






'Mk 



Entrance Hall, Residence ot J inn us 11. Broicne, Esqr., 
Los Angeles. Mr. E. Russel Ray, Architect, Santa Barbara. 
All Redwood, Done in its Natural Tones with Wax Fitiish. 

of Mr. McMillin. This is fortunate, as 
the exceptional or accidental growths pro- 
ducing these effects are so rare as to be 
uncommercial in quantity; they cannot 
be made, nor foreseen, nor wished into 
existence; they simply have to be found, 
stumbled on, where they happened to 
occur (usually by some ancient injury to 
the trunk of the tree). There is a sermon 
in the "disorderly charm" of grain found 
in a defective (though sound) part of a 
great tree; just as we ourselves do in our 
moral stresses and conquests, it has 
evolved a superior beauty out of its 
effort to correct a blemish or heal a wound. 
The simpler effects, however, are more 




o 







i'age i-ottrtccn 



BEAUTIFUL, EN DUFtlNG .FIRE-RESISTANT , S A N I T A R,Y 




DininQ-rooni in the Residence Shown Opposite. Redwood 
Trim with Hand-Rubbed White -Enamel Fmish. The hgg- 
Shell" Finish on Redwood is Like Marble— atid Stays So. 

livable, and in Redwood their variety, 
of both figure and tone, is so great as to 
be captivating to the cultivated artistic 
sense in a degree almost unequalled in 
the world of refined and beautiful woods. 

SOFTWOOD FOR FINE INTERIORS 

The old idea, that only an imported, or 
an expensive domestic, hardwood was ade- 
quate for high-class interior trim, is no 
longer the determinative fallacy that it 
used to be. Neither is it any longer the 
belief of anybody that a so-called "soft" 
wood must needs be covered up and dis- 
guised and rendered ridiculous by heavy 
layers of alien and unbeautiful paint, or 
the greater horror of artificial "graining" 




mU 



m 



"^ 



.TrvT^j^'mm 



Page Fifteen 



r??i I ^M 



RKbWMft 

NATVR-E'S LUMBER. M.ASTER,P1JECE r,wt«wm 



f !^ff/f 



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»^'"'l 







Entrance Hall in the Miihvirk Country Club, Pasadena. 
Redwood Beams and Trim Throughout. Mr. J. Martyn 
Haencke, Architect. An Achievement in Simple Dignity. 

(in imitation of species that never existed); 
these latter practices almost amounted to 
an offense against true modesty — cer- 
tainly they were an affront to every 
healthy art sense. 

The natural beauty of naturally beautiful 
woods (Redwood naturally being upper- 
most in our minds as we write) is now 
recognized as an asset of culture and a 
daily delight to its discriminative posses- 
sor. The only exception nowadays is 
the deservedly popular and essentially 
worthy Colonial effect achieved by white 
enamel, sparingly employed. No house 
should all be done in any single finish. 








Pacje Sixteen 




rcowooh 

, ENDURING .FIRE-RESISTANT , SAN JTA ELY 




Dining-room in Country Home of Charles PiUsbury, Esqr., 
Lake Minnetonka, Minnesota. The Beams and Watnscotare 
of California Redwood. Mr. Edwin H. Hewitt, Architect. 

The effect would be monotony. The 
interior trim should have the living value 
of concord with the usage of the various 
rooms, and should contribute to the full- 
est harmony between the room and our 
mood when we enter it (or perhaps we 
should say the mood which we hope to 
humor when we choose the room to enter.) 

The Library is our best friend when its 
woodwork, wath unobtrusive dignity and 
quiet welcome contributes to our sense 
of comfort and entertainment— perhaps 
with just a suggestion of luxuriousness 
without languor. The woodwork in the 
Living-room does most for us when it 





['age Seventeen 





" Haymount," Seen from the Park; Estate of W. W. Fuller, 
Esqr., Briarcliff Manor, New York. Mr. Arthur T. 
Remick, Architect. {See Interior View on Facing Page.) 

emanates confident cheer and radiant 
hospitalit}. In the Entrance Hall the 
woodwork best expresses us when it 
speaks of substance and security without 
heavy dullness, of family pride without 
pose, and of the fine traditions of Welcome 
without the taint of affectation. 

The Redwood panels (and the exposed 
beams if you like them) of the Dining- 
room reflect the spirit of good humor, 
leisurely comfort, plenitude, bright re- 
sponsiveness and easy digestion, artistry 
in practical things and open-handedness 
of mind, if we may put it that way. 
And the woodwork of the pantry and 
the kitchen — well, they must neatl}^ 




f 




Page Eighteen 




M 



Breakfast Room; " Haymoioit;" all in California Redwood, 
Exquisitely Etiameled in White with "Egg-shelV Finish. 
No Other Wood is Quite as Perfect a Basis for Enamel. 

prudently, precisely and sanitarily an- 
nounce to the casual glance of the privi- 
leged guest the fundamental philosophy 
and practices of you and yours. Up in 
the sleeping chambers your "Sequoia 
Sempervirens" (Redwood) trim, whether 
finished in its natural face and cleanliness, 
or dressed up in chaste white enamel, 
(as a base for which a very close-grained, 
and non-resinous wood like this is vital,) 
conveys the "feel" of seclusion, security, 
peacefulness and quiet rest. 

As a writer in the Craftsman Magazine 
says, the homestead as a whole "is a 
part of ourselves, an expression of our 
personal taste and convictions, a place 




f- ' 





H:.|!|! 






The Music Room in the Residence of G. 0. Knapp, Esqr., 
Montecito, California. Exceptionally Beautiful Effects in 
Redwood with Acid Stain. Mr. E. Russel Ray, Architect. 

where children may grow and learn and 
play, where men and women may find 
work and rest and happiness, and where 
old age may come with understanding, 
comfort and peace. This is the ideal 
toward which America today is looking. 
"We are regaining architectural sanity, 
building for utility, comfort and lasting 
beauty, and leaving behind as useless and 
encumbering details all those ornamental 
frills that were once considered so essen- 
tial to every house. Indoors and out, we 
are making our dwellings as simple and 
durable, as hygienic and restful as modern 



■ I. 



Page Twenty 



O 



il ! ^ "/<■%?■ 




B EAUT I FU L. ,E 



gCDWOOH 

N DURING. FIRE -RESISTANT . S A N 1 T A R,Y 




li \ 



\\\- 



The Library in the Residence Shown on Opposite Page 
California Redtoood Trim Throughout. A Notable Example 
of Reserved Beauty and Artistic Unity of Design and Color. 

science, skill and care can make theni. 
And in evolving and perfecting our archi- 
tectural standards, our houses are becom- 
ing not only more comfortable places to 
live in, but also more satisfactory and 
substantial investments for the present 
and succeeding generations. The build- 
ing of a successful home, however, is no 
small undertaking. Most people, face 
to face with this important task, find 
themselves unprepared. They have a 
lot of enthusiasm, but no experience. 
They have an ideal, but lack the knowl- 
edge necessary for carrying it out. Unless 









; M 



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1 % \\} 




Tuijc Twenty-one 



rffm. 




L %jiwl| B E R, M, A. ST Ej fe.^ P 1 E C _E 




[J'-Wz'-f^''^ 





"The Music Shed," Norfolk, Connecticut. Mr. E. K. 
Rossiter, Architect. "A Hospitable Warmth Pervades It." 
A Successful Use of Redwood in Low-Priced Construction. 

they can turn to some authentic source 
for advice and information, they find 
their home-building a rather experimental 
affair." 

It is to contribute our share toward the 
most intelligent mastery of these prob- 
lems of selection that we print this book. 
We do not wish you to use Redwood in 
any case where some other species of 
lumber might better serve your purpose, 
but we shall be gratified (and amply 
repaid) if you merely insist upon Redwood 
in cases wherever it is best for you, and, 
after a study of this book, give your per- 
sonal taste and judgment free play in 
cases where there may be a fair choice 
between Redwood and other woods less 
desirable, and probably more expensive. 



lH' 


HI 


ll 


11' 






Pi;!'- 



I'uyc I LK/t nly-two 






B E/fiUT;)' FU L ' E NDUl^ING vFI RE -RES TSTANT •, S A N I T A R-X 





J''-t'l 






The Lobby; Hotel Korbel, Korbel, Humboldt County, Califor- 
nia. All the Wood is Redwood. (Its "Slow-burning" Qual- 
ity is a Rare Virtue.) Messrs. Hill uf Johanson, Architects. 

yet more familiar to the general public. 

IVIr. James Collier Marshall, writing in 
Country Life in America, says: " There 
is an increasing appreciation of the 
natural wood finish, which, indeed, lends 
itself delightfully to bungalow use. 
The fireplace and mantel must be taken 
into consideration when choosing the 
wood finish, since this is usually the dom- 
inant feature of the living-room. A 
close match in color will be the most 
satisfactory." And again, "The finish 
of the woodwork should be in keeping 
with the structure of the house — that is, 
neither too rough nor too fine, but of a 
texture to correspond with the qualities 
of the exterior." 






• 9 



'hf\.^-> 




I'age Twenty-three 




N A. tJ y 






fttOWOOd 



L U Mi B E R. >fl A S T F U P 1 p: C E 



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^' 



Living-room; Residence of Mr. Elmer Grey, Architect, 
Oak Knoll, Pasadena. Artistic and Homelike Effects 
in Redwood Interior Trim, Including the Carved Mantel. 

In the same spirit is the statement in 
Cram's ''Impressions of Japanese Archi- 
tecture" that "To the Japanese, wood, 
hke anything that possesses beauty, is 
almost sacred, and he handles it with a 
fineness of feeling that, at best, we reveal 
only when we are dealing with precious 
marbles. From all wood that may be seen 
close at hand, except such as is used as a 
basis for the rare and precious lacquer, 
paint, stain, varnish, anything that may 
obscure the beauty of texture and grain, is 
rigidly kept away." 

Plates I, II and III in this book are 



wm\ I ?; 





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a EAUT I FU L ,ENDUI^ING ,^^RJErR;^S^lSTANT , S A N 1 T A ELY 








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W- ■L.M: 



mi 



Baptist Church in Santa Rosa, California. 1873. Sill to Spire 
hicluding Panels, Pulpit and Seating, of Lumber from a Sin- 
gle Redwood Tree. 78,000 board-feet, and Many Shingles. 

excellent examples of the wonderful possi- 
bilities of varied beauty which are quickly 
and economically available to the present- 
day user of California Redwood; Plate 
V illustrates the same doctrine of rare 
beauty achieved by simple and entirely 
natural means, as it requires merely 
a careful scorching of the surface ^ of 
Redwood with the flame of a gasoline 
torch (such as is used by plumbers,) the 
brushing out of the charred wood with 
stiff bristles, and then washing with 
alcohol, followed by a Ught waxing if 
desired. There is only one other species 
of wood native to America, on which this 




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III 



V 




Page Twenty-five 



AAl^J^J^^t 




" N A. Ti 1^ BL E ' i^ L U IVti B E R.- lyi A S T E li. P I E C B, 





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Characteristic "California Biingaloiu:" All Red'cvood, Inside 
a>id Out; a Type Which Has Become a Distinct School of 
American Architecture. Redwood Yields Interior Beauty 
and Warmth, with Exterior Endurance and Fire-resistance. 

simple process is entirely successful; its 
requisites are a lack of resin (the pitchy 
quality) and the presence of a pleasing, 
natural figure in the grain. Another 
point related to plate V is that it simu- 
lates perfectly one of the natural, un- 
stained effects that is regarded in the 
Orient as the acme of artistic simplicity 
and which proves its merits by its faculty 
of growing in the affection of those who 
live with it. It is, in truth, the wood itself, 
as the masters of art require, yet as 
applied to Redwood it yields an accent- 
uation of natural beauty, with nothing 
added, which is superior to any compari- 
son. Perhaps one of Redwood's best 
traits is its "habitual distinctiveness." 






ni 










/I ,;• B EAUT 1 FU L . ENDUrCING . F I R-E, -KESISTANT , S A. IS 1 T A ELY 




"I 




.4 House Hollowed from a Single Redwood Log at Eureka, 
California. It Takes Hundreds of Years to ''Erect" This Type 
of Residence. Two Rooms, Each lo feet Square, with Ceilings 
i4feetHigh. ''Redwood Interior Trim." {Architect Unknown.) 

IMPOSSIBLE TO BE 

COMMONPLACE, IF YOU USE 

CALIFORNIA REDWOOD 

None know better than the Japanese 
how not to be commonplace. The avoid- 
ance of that particular fault is almost a 
religion with them. And, from the point 
of view of the American consumer, noth- 
ing is easier than the avoidance of the 
commonplace. He has but to specify 
California Redwood, whether for cottage 
or palace, and he is automatically guaran- 
teed against "the taint of the uninterest- 
ing usual." There cannot be any ''unin- 
teresting average'' in Redwood. It was 
of Redwood that a well-known writer 



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Page Twenty-seven 



IS A T TJ 12^ E • S L U m| BE R. M A S T E^ a. P I E C E 





Another Glimpse of the Subliimtu's of thf Redicood Forest. 
Observe the Relative Size of the Human Figure Leaning 
Against the Fifth Tree from the Right in the Photograph. 
Also the Luxuriant Mans-size Ferns in the Foreground. 

said, "Every inch is a study and every 
foot is a picture." It is about the only 
wood in the world of which this can be 
said. There is a great difference not only 
in the character and texture but also in 
the superficial appearance of separate 
pieces of Redwood from the same tree. 
Even with the same method of sawing 
different boards of Redwood from the 
same tree will show not only rare and 
beautiful variations of grain, but — still 
more important — there may be variations 
of hardness or "texture" which require 
the exercise of thought, knowledge and 
somebody s experience in order to attain 
the best effects in finishing. 



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"Sequoia Cottage," Madison, Wisconsin. Summer Resi- 
dence of F. M. Crowley, Esqr., Messrs. Gordon and Bach, 
Architects. Redivood Interior in all its Native Beauty; Red- 
wood Exterior, including Shingles, Siding, Porch and Trim. 

In the softer pieces the stain, or other 
preparation, penetrates deeper and more 
quickly than it does in the harder pieces. 
For example, Plate No. V^II on page 37, 
i \i ' shows an unusually hard piece of Redwood, 
of which it might be most difficult to 
procure large quantities at a given time. 
We state this to avert disappointment. 
It is plain that the "slash grain" sawing, 
such as is shown in Plates V, VI, VII, 
IX and X, is more likely to repel color 
infusions than are examples of "edge 
grain" such as Plates III, IV and VIII. 
Where the treatment has a chance to 
work in edgewise between the annular 
rings it naturally travels more readily 



1 ''■ ii 


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Page Tzventy-iiiiir 




A L I F O R. N I 

RKBWOOtt 



R, E ' S L U M! n E rC M A S T £. H_ f i K C 




IJ.1 \ 



Chambers of the Late Federal Judge DeHaven, United 
States Government Building, San Francisco. Finished iii 
Superbly Carved Burl and Curly Redwood. {Very Rare.) 

than when it sUdes across the surface of 
flat layers of the wood. Please read care- 
fully the general guidance to correct finish- 
ing which we offer in the Recipe Section. 

( Trxl continues on page 40) 



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CALIFORNIA REDWOOD: NATURAL WOOD. NO FINISH WHATEVER 



Plate I 



C Al^ i F b 1^1^' 



-^i "ISIATUiJ^E'S LMMLiBJER- 1V1ASTER.PIEC Eif^ 




CALIFORNIA REDWOOD: NAT!.iRAL_ i.URFACE SL1GHTL> WAXEL 



Plate II 



3 






HCDWOOH 







CALIFORNIA REDWOOD: CURLY" GRAIN, SLIGHTLY WAXED 



Plate III 




CALIFORNIA REDWOOD: SIMPLE "WEATHERED" FINISH 



Plate IV 



/s, L I F O R is^ I 



RCDWOttll 

BE^UTI FUL, ENDURING ^ ^^^j^^,^;^^'^^^'^ ' SAN1TAR.Y 



Sl^B 




CALIFORNIA REDWOOD; 'JAPANESE BROWN' FINISH 



Plate V 



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5il - N A. T V R. E • S L U ,M| B E R. M. A S T E. R. P 1 E C E 




CALIFORNIA REDWOOD: WITH TWILIGHT GREV FINISH 



Plate VI 






E^UT I FU L. ,ENDUt^INC , FI RE, -RES I STANT , ,SAN J.T^R-Y 




CALIFORNIA REDWOOD: WITH ■COROT' BROWN FINISH 



Plate VII 



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STER. PIECE 




CALIFORNIA REDWOOD; CANYON GREY STAIN, WAXED 



PLATE VIII 




EAUTIFUL-.ENDUR-ING , FI BLE -RES 1 STAN T , SAN I T A R^Y 



-^ 




r/ze Af^i^t'c i?oom of R. M. Adams, Esqr., Los Angeles. 
All Trim and Timbering are of Redwood, Interestingly and 
Beautifully Finished. Mr. Arthur S. Heinemann, Architect. 
This Photograph Indicates Redzvood's Wonderful Range of 
Use. Its Merits as a Structural Wood are Very Well Known. 




^J^'yS^T^.. :.^„:u.LXi'U,l2.V.S>j* 



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Redwood Interior Trim 
Installed in 1549 and Still 
in Daily Use. (Does 
E— ~fa Redwood last!) Views oj 
Mission Guadalupe, Ciu- 
dad Juarez, Mexico. 
The Old Spanish Monks 
Recognized Redwood's 
'~-'^^ " ~~ Beauty and Adaptability. 

AN "EASY-WORKING WOOD" 
MEANS REAL LABOR ECONOMY 

One of the most notable virtues of Red- 
wood as a standard high-class interior 
trim wood is the remarkable quality 
which cabinet-makers call "easy-working" 
— that is, it is "kind to edged tools" 
and tractable in the hands of the artist 
carver; if properly seasoned and worked, 
the ' ' tongue ' ' of the grain does not tend to 
rise on a " flat " or " slash ' ' grain board ; and 
these qualities assure not only enduring 



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BEAUTIFUL .ENDUPCING ,FIRE-RES^ISTANT , SAN1TAR.Y 



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r/j^ Homelike Charm of Redwood in "Livable" Houses. A 
Corner in the Tasteful Residence of Mrs. Sanderson, in 
Berkeley, California. {Messrs. Maybeck and White, Archi- 
tects San Francisco). The Panelling, Casings and Fur- 
7iiture (in fact. All the Wood you see except the Floor) are of 
''Nature's Lumber Masterpiece," whose Warm Tones hunch 
the Atmosphere of the Whole House. {And its Easy-workmg 
Qualities Especially Endear it to the Amateur Crafts- 
man.) Redivood is Indeed the Ideal Wood for Varied Uses. 

and always satisfactory service to the 
owner, but also in the building period 
save tremendously on the labor bdl. 
(The wonderful over-mantel in the 
dining-room at ''Darlington," [see page 
five] carved from a single piece of Red- 
wood, superbly emphasizes the desirability 
of Redwood for all elaborate tooling.) 

If Nature, when she created Redwood, 
had deliberately set out to most gener- 
ously take account of our present-day 
economies and conveniences as well as 
our artistic appetites, she could hardly 





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S7??FR''"ni'^T" f 




Page Forty-one 



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,4 ?)02'e 7£r show the 
Dining-room in the 
"Home of Redwood" 
at the Panam.a-Pacific International Exposition, SanFran- 
cisco, 1915. Note the Rich Dignity of the Redivood Panelling. 

have improved her work as it stands at 
this moment. In so far as the de luxe 
uses of Redwood are concerned, Nature 
achieved a miracle in making an " all- 
purpose" wood so richly adaptable to 
the more refined uses of lumber. She 
put into every Redwood tree a variety 
of kinds of grain, grade and texture prob- 
ably not paralleled in any other species, 
and easily warranting Redwood's title 
as "The King of Specialty Woods." 

In relation to Interior Finish this fact 
yields a fascinating range of choice which 








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BEAUTlFVJi.,ENDAR-ING ,FI R-E -RESISTANT , S A N 1 T A ELY 




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Livhig-room in the ''Home of Redwood," Looking Toward 
the Dining-room. Do vou Sense th? Inviting ''Feel" of the 
Redwood^ No Other Wood has Quite this Quality. Mr. 
Louis Christian Mullgardt, Architect, San Francisco. 

is only remotely suggested by the diver- 
sity of the color-plates in this book. It 
is interesting to note that the handsomest 
and most durable kind of Redwood for 
Interior Finish comes from near the butt 
of the tree. This is always the hardest 
section, and, while so very superior for 
Inside Trim, is not as good for pattern- 
work; and so it goes, all through the 
varied catalog of the product of a single 
Redwood tree. 

Do not fail to remember that the various 
treatments suggested in this book are 



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Page Forty-three 



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NATUJEi.E'9 LU Ml BER. M,ASTEIi. PIECE 



'1 , ' 



always much enhanced in beauty and distinction 
when apphed to the harder examples of Redwood. 
The selection and discrimination must be left to 
the intelligent and vigorous judgment of the indi- 
vidual buyer in securing the particular stock which 
will best meet his needs. 

An interesting commentary is the fact that Red- 
wood, the only species of wood in the world which 
groivs ofily in the United States, has, hitherto, been 
much more appreciated abroad than at home. Up- 
ward of fifty million board-feet annually are ex- 
ported to Australia alone (a sparsely settled land), 
and are there almost entirely applied to fine Interior 
Finish and Doors. (May we not hope that America 
itself, the home of the most beautiful, most 
individual, most romantically historic, most tractable 
and most universally useful and economical wood in 
the whole catalog of forestry, will soon awaken enthu- 
siastically to this native treasure which it has been 
neglecting? And is it not singular that while the 
majesty of the Redwoods is a familiar thought to 
almost any American, their utility is so little realized 
by most people? What more interesting than to feel 
that the beautiful wood which helps to house you 
was a vigorous sapling at the time of the Crusades 
— and that it is now yours, in the most practical of 
service?) 

A point worth remembering, and which pertains to 
all species of lumber, is that the harder the wood 
the greater is the occasional tendency to split 
(more or less, according to texture). Your insistence 
upon carefulness in nailing the harder examples of 
Redwood should, therefore, be in proportion to the 
character of the particular board — which even an 
amateur judge can intelligently discern. The usual 
run of Redwood is practically "split-proof." 



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BEAUTIFUL, END Uii- INC. F I R,E -RESISTANT , S A. N I T A U,Y 




i| 



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5. .S. " Seeandbee,'" of the Cleveland and Buffalo Transit Com- 
pany. The Largest and One of the Handsomest Side-wheel 
Ships m the World. The Staterooms, Partitions, etc., 
and the Canvas- Covered Decks, are of California Redwood. 

WIDE REDWOOD PANELS ARE 
ALWAYS PROMPTLY AVAILABLE 

Another advantage offered by California 
Redwood, alone among all the woods of 
the Earth, is the fact that it can be had 
in such astonishing widths at such very 
reasonable prices. Reference to the photo- 
graph of the dining-room on page thirteen 
will be most impressive. These edge-grain 
panels are five feet wide, and keep their 
position without either shrinking or swell- 
ing. (This is the "stay-put" quality 
which puts Redwood almost in a class by 
itself among all interior trim woods, either 
hard or soft.) Mr. Hobart's panels, warm 
greyish-brown in tone, (acid stain), are 



ii t 





Page Forty-five 







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l.M 



N A T y Xi. E ' S L U M| B E R. J^l A S T F. l^ P 1 E Q E 

"glued up." This singular freedom from the faults 
expected in most woods is one of Redwood's 
distinctions. Another point is that the natural 
figure of Redwood varies so much, and is always 
so beautiful, that marvelously lovely and distin- 
guished effects may be had with the ordinary run of 
the grade known as "clear finish" without resort 
to specially selected stock for even very particular 
panelling work. 

THE USE OF REDWOOD 

"SHORT LENGTHS" IS HIGHLY 

INTELLIGENT ECONOMY 

A skillful, artistic and most intelligently economical 
utilization of Redwood is illustrated on page four- 
teen. The owner made wonderful use of "short 
lengths" of ordinary Red\aood stock — "ship-lap," 
1 inch by 8 inches by 8 feet — obtainable anywhere, 
any time, and always at materially less cost than 
" standard " lengths. What is the difference? It 
is little more than habit and superstition. The 
wood is the same. Why do people insist on buying 
14-foot lengths and then cutting them into two 7-foot 
pieces for door-casing, for instance? Probably be- 
cause the habits of the trade are strong, and the 
purchaser is not familiar with the advantageous 
facts here submitted. The opportunities to econom- 
ically utilize "shorts" for interior finish are diverse 
and frequent — and the savings are very considerable. 
This is especially true when widths from 3 to 8 
inches can be employed; where 10 inches or wider 
is really necessary you must not expect to secure 
them so easily in short lengths; the wider stock 
naturally commands a superior market in greater 
lengths and is cut as long as possible in all cases. 
Yet if the conditions of your proposed use admit of 



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B EA U T I F U L . E NDU K.INC , FIIiE -RESISTANT , S A N I T A. R,Y 




lilt DiHini^-iooin, "Ihi<< yOi'tVo Jutini,' Ihivti, A'lH' Jlaitip- 
shire. Country Estate of E. W. Rollins, Esqr. Finished in 
California Redivood. Note the Great Width of the Ceiling 
Boards. Messrs. Chapman and Frazer, Architects, Soston. 

\m "matched up" work, the marvelous prod- 
uct of the "Linderman" machine used 
by many of the better woodworkers will 

; be available in almost any dimensions 

^ ^ desired. 

I ! In connection with the subject of short 
'' lengths, in general, it should also be re- 
membered that "shorts" thicker than 2 
inches are always scarce. 

All these facts are worth remembering — 
and we are being very candid with you, 
Mr. and Mrs. Reader, because we might 
reasonably follow the historic practice and 



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I ; . • rr*"/r/*Tiii'rnrnsL~TrfBi=' r.tpvj'^i' fj^i r?" i 



Page Forty-seven 



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^^h\ " IS A Ti V -R- E, ' S ''- ^ ^i B E XC MA S T E li, P l^E C^ E 



I 



[01 




allow you to pay more than you really need to for the 
material you require. "Short lengths" are cheaper per foot 
as well as more economical in use. But if we followed the 
usual course, it would not be in accord with the spirit of 
this Redwood book, nor with our hopes for your per- 
manent confidence and respect. In the same direction, we 
are glad to state here frankly that the "select" grade of 
Redwood "finish stock "(the principal "defect" in which is 
healthy "sap-wood" on the edges) can be bought at from 
S3. 00 to $5.00 reduction from the standard prices for "clear" 
grades, and is just as good for paint and enamel work as the 
most perfect "clears." 

It may be well to say here that the word "defect" in lumber 
grading-rules signifies the presence of some definite and 
obvious characteristic and does not at all necessarily imply 
undesirability. For instance, "clears" must have no knots, 
while in the next grade (equally valuable for almost every 
use) "tight" knots up to a certain size are not described as 
a "defect." What is a "defect" in one board may exist 
in another board which is classed as perfect (in its grade). 
The word "defect," therefore, in lumber parlance merely 
aids in arbitrarily classifying a varied output and is not in 
any way a disparagement if you buy the grade that best 
serves the special use. There is no object in buying "No. 
1," for instance, for purposes which "No. 2" would serve 
just as well, and would cost you less. 

In the upi>er grades of most lumbers, "sap-wood" is tech- 
nically a "defect" because of its lesser solidity and greater 
tendency to early decay than the "heart-wood" of the same 
tree. In the process of sawing, a board often shows both 
"heart" and "sap" and this affects both its grade and its 
price. The sap-wood is the newer growth, next to the bark. 

In most white woods the sap-wood shows but little contrast 
with the heart-wood, and is therefore often tolerated in 
the higher grades because it is hard to distinguish. But in 
Redwood the color tone of the heart is so much darker than 
the sap that when you specify "clear" you inevitably get 
exactly what you wish — neither error nor manipulation 
being possible. There is not a blemish in it. This is impor- 
tant. Perhaps you begin now to realize the spirit in which 
this book is written, and we hope you will profit by it. 



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BEAiUTiFUL.ENDU FLING, FIRE-RESISTANT , S 




IN LONG, ROUGH USAGE 

REDWOOD GETS STRONGER 

INSTEAD OF DECAYING 

An interesting testimony to the longevity of Redwood 
under hard conditions is in the following extract from the 
West Coast Lumberman, published in Seattle, Washington, 
a locality not specially interested in the welfare of Redwood. 
We offer the publishers our compliments on their candor, 
and reprint their statements for the benefit of the public: 

"AN INTERESTING TIMBER TEST." 
"... California Redwood lumber acquires added 
strength with age, according to tests which have been made 
at the University of California. Timbers taken from a house 
built thirty-seven years ago on the Berkeley campus were 
tested and found to be actually stronger than the day when 
the building was erected. There was not the slightest indi- 
cation of decay in . . the Redwood, . . ventilation 
having been nearly perfect. Air seasoning had taken place 
under the most favorable circumstances. The only evidence 
of age was the fact that the wood was slightly darkened. The 
house from which the lumber was taken was built in 1874, and 
was wrecked to make way for improvements. . . Mr. Shields, 
who conducted the tests, found that the 38 year old Redwood 
had a longitudinal crushing strength a fourth greater than 
Redwood which had been air-seasoned for two years." 

(Like a good book [may we include this one?], and several 
other good things in life. Redwood improves with age). 

Perhaps one of the most notable of the traits which distin- 
guish Redwood is its peculiar quality of Fire Resistance. 
No other American wood (and perhaps no other anywhere) 
approaches Redwood in this remarkable trait. Of course 
it will burn — all wood is combustible — but, owing to its 
singular freedom from resin and pitch, and more particularly 
to the presence of a rare and characteristic acid, Redwood 
ignites reluctantly. So well is this fact established that 
after the San Francisco earthquake and fire, the Building 
Committee of the city, appointed by the Mayor to determine 
the character of buildings and materials to be used in recon- 
struction, adopted the following resolution: "Resolved, 
that no permits be given at the present time for the construc- 
tion of any buildings in San Francisco, but owners of property 





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will be allowed to proceed and erect upon their premises 
temporary one-story buildings, constructed of galvanized 
iron OR Redwood without a permit." The Hardwood 
Record (Chicago) says, "Three woods which have well- 
established reputations for being hard to set on fire are 
holly, Redwood and European alder. California Redwood 
will scorch and char to a considerable extent before it will 
burst into flame. Firemen in western towns where Redwood 
is much used . . . know how much easier is the work 
of controlling a fire where this wood is concerned than where 
the material is pine . . . Redwood instantly absorbs 
water . . . and a surface that is blazing may be quickly 
freed of flame." Further testimony on this singular point 
is found in a letter from Mr. P. H. Shaughnessy, Chief 
Engineer, San Francisco Fire Department, in which he says: 
"... After an experience of twenty-two years . . . 
my observation convinces me that under similar conditions 
of heat exposure Redwood ignites much less quickly and 
burns much more slowly than pine or other kinds of resinous 
woods ... In the great San Francisco Fire . 
we succeeded in stopping it in nearly all directions where 
the unburned buildings were almost entirely of frame con- 
struction, and if the exterior finish of these buildings had 
not been of Redwood I am satisfied that the area of the 
burned district would have been very greatly extended." 
The New York Record and Guide, of October 14th, 1911, 
stated editorially that "A good deal of Redwood is now being 
used in neighboring towns for siding frame dwellings . 
Redwood has long had the reputation of being one of the 
SLOWEST woods TO BURN and for that reason one of the 
SAFEST materials for wooden houses . and is so absorb- 
ent THAT IT takes IN WATER ALMOST IMMEDIATELY, SO THAT 

A Redwood house on fire may be saved when a pine 
building in the same situation could not be." "Redwood . . 
is a great fire resister," says a writer in Country Life in 
America, (New York), for October, 1915. (Fame spreads). 
It is likely that this same acid, peculiar to this species, accounts 
in large part for the defiance of Redwood to the elements of 
time and weather and multitudes of parasites, which, in turn, 
also explains its wonderful resistance to all forms of decay 
that afllict most kinds of lumber. 

Its "sturdy honesty" is further indicated by a letter from 
Messrs. Murray M. Harris Company, organ manufacturers, 
who state that they have found Redwood "especially 




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fifty 




BEAUTI FU L , END U FLING .Fl RE -RESISTANT , SAN I T A £LY 



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adapted to our purposes. It is not susceptible to atmospheric 
changes, there being practically no swelling or shrinking after 
it is once thoroughly dried, which makes it a very reliable 
wood . . . It being free from pitch, we are not troubled 
with sticking valves." 

Another interesting fact, not specially related to interior 
trim, yet of positive value to every prospective home- 
builder, or home re-vamper, is the extent of the supply of 
Redwood. This might afifect both the ease of securing it 
and the price to be paid for it. Complete reassurance on 
this point lies in the fact that conservative estimates, as 
issued in Government reports, indicate considerably over 
one hundred years of Redwood at the present rate of cutting, 
without taking into account either the growth of present 
standing trees or the prolific propagation natural to this 
species, nor yet of the sincere and intelligent efforts in the 
direction of conservation. In a practical sense, the supply 
of Redwood may be assumed to be perpetual, and its price 
may, therefore, be expected to always remain at an exceed- 
ingly moderate figure, when compared with other woods 
of far less value and distinction 

Taking the whole subject together, it is an inevitable and 
conspicuous deduction that when the architect, home- 
builder, or decorator puts Redwood into a house, he has a 
most unusual opportunity to distinguish himself in working 
out color schemes; it is almost as though he were an artist 
in some other direction, and had a canvas upon which to 
work. The point is, that there is no limitation upon an artistic 
impulse in the handling of Redwood. Redwood will take 
any finish that any other wood will take, and some that no 
other wood will take. By reason of its porousness it takes 
stain readily and the stain penetrates so thoroughly, that 
any damage to the surface does not show as much as might 
be feared, because the pinkish color of the natural wood 
does not show through the stain. Another vital point is 
the practically total absence of resin and pitch. 

Redwood is singularly well suited to all kinds of paint and 
enamel work, and it does not require any more paint, if as 
much, as do ordinary woods. High class jobs of white enamel 
on Redwood, with hand-rubbed finish, have lasted as long 
as twenty years in many recorded cases without repainting. 
The freedom of Redwood from shrinking and swelling 
tends to assure against unsightly cracks in enameled work. 





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Page Fifty-one 



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L V Ml B E rt MASTER P I E C E 



In working details of interior finish out of Redwood care 
should be taken to avoid sharp corners as much as possible, 
as it is comparatively a soft wood. Natural round effects 
are prettier, they give less opportunity for dust to collect, 
and there is less chance of their being bruised or dented. 

It is the opinion of the publishers of this book that the silver- 
grey stain is one of the most important bases for artistic 
variance which has yet been applied to any soft wood. It is 
original with us and we give it to you freely, and with the 
statement that varying shades and effects may easily be 
produced at slight expense by the exercise of a little personal 
care, skill and artistic judgment. It is a singular fact, as 
indicated in some of the stain recipes in the following pages, 
that this basic grey stain finish can be worked into a great 
many other color effects, because it practically cancels the 
natural reddish tone of Redwood (to which some people 
demur, although others think that nothing in the whole 
world of wood is more beautiful). 

The same wonderful varieties of tones are attainable with the 
Oil Finishes which we have developed for special applica- 
tion to Redwood. After exhaustive experiments by some of 
the most skillful artists in the country, we present these recipes 
with not only confidence but with genuine pride, to all friends 
of "Nature's Lumber Masterpiece" who wish to use it in its 
widest and loveliest adaptabilities. 

We commend the generous reader to the following pages of 
recipes, in the faith that he and she will find, sooner or 
later, that California Redwood has entered their conscious- 
ness affectionately and ineradicably, and that hereafter 
they never will doubt that Redwood is the best and most 
beautiful soft wood interior finish to be had in the world's 
lumber market. Try it. You ivill be glad we told you about it. 



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CALIFORNIA 
REDWOOD 

'nature's 

LUMBER 
MASTERPIECE. 




CALIFORNIA 
REDWOOD 

'nature's 

LUMBER 
MASTERPIECE. 



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GENERAL INSTRUCTIONS: 
The most vital single requirement in the artistic finishing of Red- 
wood, {aside from good millwork) is that it must be prepared 
with patient and affectionate care before the color finish {if any) 
is applied. The surface of each piece must be scraped and sand- 
papered with the grain until it is perfectly smooth. Although 
Redwood can be made to simulate almost every known hard- 
wood, it is naturally a soft wood, and requires a caressing 
treatment — whereupon it will do almost anything you ask of it. 
PROBABLY THE MOST ARTISTIC of all finishes that 
can be applied to Redwood {in the eyes of most people) is 
that which merely protects and perpetuates its native beauties. 
The most important parts of the process are patience and '"elbow- 
grease." The most lovely effects hinge on plenty of '' arm-work.'' 
The simple wax finish is a wonderful success if ''well-mixed 
with patient and repeated rubbing." {Recipe for Plate No. 2.) 
OUR MOST IMPORTANT SINGLE SUGGESTION is 
that proper preparation of Redwood is vital. This means 
sincerity of purpose on your part as much as sincerity of 
advice on ours. Patience and care will pay high dividends. 
UNDO UB TEDL Y THE SWEETEST FINISH of Redwood 
is achieved by preserving instead of trying to alter or enhance 
its natural beauty. "Its loveliest finish is no finish." Next 
to this in simplicity is the simple wax finish, and third is the 
waxed shellac finish, ivhich possibly is more durable than the 
simple wax finish. To produce the waxed shellac finish a very 
light coat of pure white shellac should be first applied. The 
shellac should be thinned with alcohol until it runs freely. This 
will not materially alter the color of the wood. {All standard 
"fillers," etc., have a tendency to darken the wood.) After the 
shellac has set, rub with very fine sandpaper or mineral wool 




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aw(/ apply two coats of wax as directed in Recipe 2. This will 
show up particularly ivell on Redwood burl, curly, bird's-eye, 
or any fancy grain. Neither of these finishes yields a very high 
polish, but ivill give a very artistic gloss which is easily main- 
tained by occasional rubbing with a soft cloth. If time or wear 
dims it, the original finish is restored by a light coat of ivax 
and another good, honest rubdoivn. 

Redwood "burl," or "curly," will take a "piano polish." 
Will any other "soft" zvood do this? The "hard-grain" parts of 
Redwood, {perhaps from the same tree as the richest "soft" 
pieces) will take as high a finish as the rarest hardivoods. 
{One of the peculiar virtues of Redwood — worth remembering.) 
A WAX FINISH gives better results and keeps the color of the 
stain, while the varnish sometimes changes it and drives the 
stain further into the wood. Again, a wax finish is more 
popular today and is considerably less expensive to apply. 
NAIL HOLES SHOULD NOT BE PUTTIED until after 
the first ivax coat has been applied; othenvise the oil in the 
putty will sink in and darken the wood around the nails. 
For the best effects no stain should be applied until after the 
Redwood has been thoroughly cleaned and prepared, and then, 
after the stain is dry, it should he folloived by two coats of wax, 
applied as elsewhere directed. 

For a high varnish finish, apply the stain first, and after 
thorough drying, a thin coat of "drying varnish" and two or 
three coats of "rubbing varnish." Rub in pumice stone and water, 
and oil off, or rub in pumice stone and oil and clean up care- 
fidly. This will give a beautiful " didl finish." The varnished 
finish will tend to " bring out " the grain more definitely, 
and is perhaps more permanent, yet is not usually preferred. 
For an inexpensive {and easy) "rubbed finish " use stain of 
the desired tone, one coat of shellac and one coat of " fiattine." 
A VERY IMPORTANT POINT is that stains must be 
QUICKLY and lightly applied in order to avert patchy effects 
where brush-marks overlap; it is also a worth-while fact that 
any of the dyes or stains ordinarily used on other woods can 
he successfidly used on Redwood. Redwood is naturally ab- 
sorbent, and free from the repellent resin. Any dye that will color 
cloth in a water solution will stain Redwood, and any of the re- 
liahlestains on the market can be successfully applied to Redwood. 

CA UTION: For the desired effects all recipes herein given should he devel- 
oped to your satisfaction on samples of Redwood BEFORE being applied 
to the permanent surface. They are in successful use by the best decorators 
and will give the fullest satisfaction if properly and intelligently followed. 



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BEAUTIFUL, ENE>U 1^1 NG, FIRE -RESISTANT , S A, N 1 T A R,Y 

I I 

; WE DIRECT YOUR SPECIAL ATTENTION to the rec- 

ipes for OIL FINISHES on Redwood. {See page 58). These 
were devised by Mr. Louis Christian Midlgardt, an architect 
of national eminence, and ivere employed under his personal 
supervision in the $12,000 hungaloiv knoivn as ''The Home 
of Redwood,'' at the Panama-Pacific International Exposi- 
tion, at San Francisco, IQ15. The success and popularity 
of these new and beautiful OIL finishes led us to include them 
here for your benefit. First, hoivever, ive ivill identify and give 
the recipes for the ten 5 -color pages in this book: 

ARTISTIC RECIPES (EXCLUSIVELY OURS): k 

(Please refer to color plates mentioned.) [1 

Plate No. 1: (page 31): Natural Redwood — No Finish: 
A color photograph from the natural wood, entirely with- \ 
out either filler or finish. A "hard" example of semi-curly 
Redwood, unusually light in tone. Different pieces vary 
in their natural tone. This contributes to their art value. 

Plate No. 2: (page 32): Natural Wax Finish on Red- 
wood: After the wood is carefully prepared as indicated 
in "General Instructions," apply two coats of any good wax 
thinned out in the proportion of 1 pound of wax to 1 gallon of 
turpentine; allow 24 hours for drying between coats. When 
last coat is dry, rub carefully with a stiff brush and finish 
by a patient rubbing with a soft cloth. 

Plate No. 3: (page 33): Natural Redwood With Var- 
nish Finish: See that the surface is smooth and carefully 
dusted. In putting on the varnish special care must be taken 
to keep out dust as much as possible until the varnish has 
thoroughly dried. Apply a coat of varnish, and when entirely 
dry, sandpaper with No. 00 sandpaper; then apply at 
least two good coats of "rubbing varnish." Allow 48 hours 
or more for drying between coats. A slight sandpapering 
is also required between coats, the last coat to be rubbed 
with pumice stone and water or pumice stone and oil. 

Plate No. 4: (page 34): Simple Weathered Finish: Dis- 
solve li ounce picric acid in 1 gallon of hot water or 1 gallon 
of denatured alcohol. This acts as a bleach to take out the 
natural pinkish color of the Redwood. When dry, finish with 
two coats of wax, mixed with a little burnt sienna and Van 
Dyke Brown, as indicated in the Natural Wax finish. (No. 2) 

Note — A great variety of other colors can be produced after using the 
picric acid, by the admixture of other pigments in accordance with the 
taste of the decorator and as required by the color scheme desired. 




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Plate No. 5: (page 35): Japanese Brown (burnt) Finish: 
This is the "flame treatment," illustrated by a rather un- 
usual piece of Redwood. Sample shown is an exceptionally 
"hard" piece, and the result is an unusual contrast of tones 
between the "hard" and the "soft" wood. (Yet you might 
find many like it.) The process is simplicity itself. You 
merely scorch the surface of a piece of " raw " Redwood 
board with a gasoline torch such as plumbers use, then brush 
out the char with any stiff bristles, and clean with a soft 
cloth dipped in alcohol. You may then lightly wax the sur- 
face if you wish, but this is not strictly necessary. The result 
is a graphic emphasis of the natural grain, and a novel impres- 
sion is certain, as you seldom will duplicate effects in appar- 
ently similar boards. The plate shows a hard slash-grain 
piece, but the same treatment may be applied to vertical 
grain with equally beautiful results. 

Plate No. 6: (page 36): "Twilight Grey." To get the 
effect shown in this plate "hard" Redwood stock must be 
used. Apply solution made by dissolving 1 ounce of 
bichromate of potash in 3 pints of water, then wash with a 
grey white lead stain; this may be finished with either 
shellac or varnish. On "soft" Redwood stock, (which is 
oftenest met with), a similar effect is obtained by using the 
Silver Grey stain (see plate No. 10), then the bichromate 
of potash solution on top, (but do not use any finish as this 
will tend to drive the coloring matter too deep into the 
pores of the soft wood). 

Plate No. 7: (page 37): "Corot Brown:" This most 
nearly suggests the tone of Circassian Walnut. It should 
be applied only on hard stock. Saturate 1 quart of 26 degree 
crude ammonia with 4 ounces of tannic acid, shaking the 
powder into the ammonia, until a complete precipitate is 
formed in the bottom. Follow one application of this with 
a wash of bichromate of potash, dissolved 1 ounce in 3 pints 
of water. Wax as directed in other cases. 



Plate No. 8: (page 38): "Canyon Grey:" Thoroughly 
mix 1 gallon of water with 1 ounce of lye (potash), apply one 
coat of this solution and let it stand for 2 days, until it thor- 
oughly bleaches; then wax as previously described. Many 
different effects may be produced by using different pigments, 
dyes or stains after first bleaching the surface of the wood 
with lye. Individual experiments in such a case may evolve 
novel and beautiful results not known even to us or the 
"experts." 



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Plate No. 9: (page 69): "Autumn Green:" This effect 
is made by first applying one coat of the Silver Grey Stain, 
(see Recipe No. 10) and when this is dry, applying one coat 
of picric acid, mixed 3^ ounce of picric acid to 1 gallon of 
hot water, or 3^ ounce of picric acid to 1 gallon of denatured 
alcohol; then wax and finish the same as for Silver Grey. 

Plate No. 10: (page 70): Silver Grey: Bring to a boil 
4 ounces of verdigris powder with 3^ gallon of strong, cheap 
vinegar, or diluted acetic acid. Bring to a boil 2 ounces of 
nutgall powder, with 3^ gallon of water. Mix the two and 
add 10 ounces of soapstone powder; keep stirred and apply 
to the wood with a brush. If not grey enough when dry, 
apply a second coat. Next brush off all loose powder and 
apply the following mixture: 4 ounces of pure beeswax to 
1 gallon of pure turpentine or benzine. Then putty all nail 
holes. Mix the putty three shades darker than the wood color. 
Use plaster of paris to stiffen the putty; let the putty dry for 
24 hours and then apply a second coat of the wax. When 
dry, polish with a brush and finish off with a cloth. 

CA UTION — The verdigris and nutgall powders are to be cooked in and used 
from agate or enamel pots, free from tin or iron. Keep your stains in glass 
jars, as the acid will eat the agate in a short time. The rule as to the waxing 
and puttying of stain No. 10 will apply to all the other special stains 
except where otherwise specified. 

THE FOLLOWING RECIPES (Exclusively Ours): 
ARE FOR STAIN FINISHES NOT SHOWN 

in color in this book, but which can be relied upon to yield 
artistic, interesting and satisfactory results if carefully executed: 

Dark Grey: Use formula for Silver Grey, but omit the 
soapstone. The more soapstone, the lighter the grey becomes. 

French Walnut: Two coats of Silver Grey stain as 
already shown. When dry, sandpaper smooth with polishing 
paper; dust off and apply one coat of any good dye (orange 
color) dissolved 34 ounce to 1 gallon of water. When dry, 
rub lightly with polishing paper, then wax and putty. 

Walnut Brown: Finish the same as the French Walnut, 
but use a seal brown dye instead of orange color dye. 
Note — This Silver Grey Stain may be used as a basis for a great many 
fine effects, the final color being determined by the color of the dye used. 

Dark Walnut: Dissolve 4 ounces of verdigris powder 
in 3^ gallon of strong vinegar ; then add 8 ounces of dry French 










NATV^E'^r LUMJBER. MAST F. U, PIECE 



zinc; 3 ounces of raw sienna, dry; then 2 ounces of burnt 
sienna, dry; then 2 ounces of golden ochre, dry; keep well 
stirred and apply an even coat. When dry, give one coat of 
any shellac; sandpaper carefully and wax. 

American Walnut: One coat of Silver Grey stain. 
When dry, apply one coat of bichromate of potash solution. 
(1 ounce of bichromate of potash dissolved in 3 pints of 
water.) Wax and finish the same as stated in other cases. 

Golden Brown: One coat of Silver Grey stain; when dry, 
one coat of potash stain as above. When dry, one coat of 
picric acid stain. Wax and finish as in other cases. 

Mahogany: (Important: Vertical Grain stock MUST 
BE used.) Mix Bismarck Brown in water and apply; 
then use one coat of shellac; sandpaper it well; then glaze 
with spirit stain, using as a pigment Bismarck Brown and 
spirit black. This will produce a dark Mahogany color. 
Finish with two coats of any standard brand of varnish, 
rubbing each coat down with oil and pumice. 
Note — Because of its natural reddish tone Redwood approaches much 
nearer to a true mahogany effect than does any other soft wood; this is 
particularly true of the curly grain examples. 

Light Oak: Dissolve 4 ounces of tannic acid by adding 
it slowly to 1 quart of 26° ammonia. Give the w'ood one 
coat of this after it is thoroughly dry. Sandpaper with No. 
00; then one more coat of above solution. When dry, sand- 
paper and finish with wax as elsewhere described. 

THE FOLLOWING RECIPES {Exclusively Ours): 
ARE FOR OTL FINISHES NOT SHOWN 

in color in this book, but which can be relied iipon to yield 
artistic, interesting and wonderfully satisfying results if 
intelligently and carefully applied. ''Patience pays dividends." 

IMPOR TA NT PREP A RA TIONS A ND METHODS: After 
the ivood is thoroughly sanded and cleaned smooth, apply 
a coat of white shellac; then mix pigment of ivhatever color is 
desired with white lead or zinc and boiled oil, thinning the 
mixture with turpentine if necessary, and applying ivith a 
brush. Immediately thereafter, ivhile wet, wipe tenth a soft 
rag, cheesecloth or dry brush, leaving a thin film of color and 
allowing the Redwood graiii to show through uniformly. 




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r//w process may be repeated until the desired tone is obtained 
uniformly, allowing each coat to dry thoroughly before the next 
application. After a satisfactory uniform finish color has been 
established, loax with tzvo coats applied hot and rubbed to 
surface finish desired. 

Any color tone may be produced, the variations simply depefiding 
upon the pigment, the mixture and quality of workmanship. 

"Natur.\l" Finish: (respectfully suggested for the 
Reception Hall): Two coats of white shellac, thinned 
with grain alcohol, applied with a brush and then rubbed 
with beeswax. 

A Suggestion for the Living-room: Two coats of white 
shellac, thinned with grain alcohol, applied with a brush; 
then one coat of silver grey OIL pigment applied with a 
brush and partially rubbed off with a soft rag (cheesecloth) 
and then rubbed with beeswax. 

"California Brown:" (suggested for the Dining-room): 
Two coats of white shellac, thinned with grain alcohol, 
applied with a brush; then one coat of walnut brown OIL 
pigment, applied with a brush and partially rubbed off 
with cheesecloth and then rubbed with beeswax. 

White Enamel: (suggested for the Butler's Pantry 
and Kitchen) : One coat white shellac, thinned with grain 
alcohol, applied with a brush, two coats of white lead paint 
and one coat of white enamel. (For the Servant's Quarters 
many people employ the same treatment suggested for the 
Butler's Pantry except that for the third coat white paint 
is used in place of white enamel.) 

A Suggestion for a Bedchamber: Two coats white shellac 
thinned with grain alcohol applied with a brush, two coats 
of pinkish brown OIL pigment applied with a brush and 
partially rubbed off with cheesecloth, and then rubbed 
with beeswax. 

For Another Bedchamber: Two coats white shellac 
thinned with grain alcohol applied with a brush, two coats 
mauve colored OIL pigment partially rubbed off with cheese- 
cloth and then rubbed with beeswax. 

A Suggestion for the Sitting-room: Two coats white 
shellac thinned with grain alcohol applied with a brush, 
two coats golden brown OIL pigment applied with a brush 
and partially rubbed off with cheesecloth and then rubbed 
with beeswax. 



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OiUFORNlA^ REDWCDD 

"NATURE'S LUMBER MASTERPIECE" 




"SMS^lWUf . H^ T W MS ' ,jl"" ^ 1 ' mt ' VJ" 




Artljiir &. I^rtnrman 
ArrllltrrJ 

Co* Xngrlri, Col. 
Plionri: Jiain 5544; Jf-5344 



April 21, 1914. 



"I.ty daar Hr. Browne: 

Replying to yours of -he 18th inst., relative to 
my reasons for preferring redwood as an interior finish Irun- 
her as compared to other soft woods, I wish to state that 
my reasons are man;' and varied, and my preferences are 
rather )i!^d to analyze beyond stating that the general effeot 
of the interior of a living or dining rooa finished in red- 
wood produces a most satisfactory and restful effeot, and 
the result of its use is so pleasingly hoQe-liJ:e, that I 
often choose it in preference to the mere expensive hard woodc 

I find that tlie groat widths in \7hioh perfect and 
unblemished redwood boards can be obtained, renders It par- 
ticularly attractive for \7ainscot and frieze. 

I like the subdued contrasts in the grain of the 
finished wood; and from the constniotion point of viev;, its 
freedom from cracks and cheolcs rnders it greatly superior 
■^0 other soft woods. 

1 use it extensively for interior finish liecause 
both in its natural color and In the various subtle tones 
and shadings that can he p^'oduced by proper staining, I find 
that it harraonizes with end picks up almost any interior 
deooratinv schemes thrt are in good taste In short, I 
am a redwood cran\. 



Yours ver;; trul; 



iSH/B 



BEAUTIFUL CALIFORNIA REDWOOD FOR FINE INTERIOR TRIM: 
"EVERY INCH A STUDY — EVERY FOOT A PICTURE." 



_L. 



>P CALIFORNIA REDW^Dld 

^^ "NATURE'S LUMBER MASTERPIECE" -^^j 





Novenber 11, 1914. 



Crosby-Chloaeo, 

206 South lilohlgan Avenas, 

Chioaf o , 

IllinoiB. 



I shall be glad If you can soon let me have the 
sample panels of California red wood irtilch I asked you for 
yesterday and which I wish to have treated with a special 
method of finishing. 

I am very much i-nterested in the possibilties of 
red Tood for interior finleh and have used it to advantage 
in several rooms during the past. 

It has been particularly satisfactory in the hall 
of the Michael Cudahy residence, Maolcinac Island, a view of 
which you are publlahing. I like it because of its workable 
qualities, because it will stay where it is put, because it 
has. In fact, so many of the excellent qualities of ?*ilte pine 
with an added individuality in color and figure which suggests 
its use for panellnc. not as a substitute for nor an imitation 
of other woods, but for its own decorative value. 

I do think tliat it, like many other fine woods, has 
had too little attention gl'sn to the methods of finishing whieh 
will bring out its beauties to the greatest extent. 



i 



B 



BEAUTIFUL CALIFORNIA REDWOOD FOR FINE INTERIOR TRIM; 
"EVERY INCH A STUDY— EVERY FOOT A PICTURE." 




Page SLvty-one 



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^"aUFORNIA REDAVOOD ^ 



"NATURES LUMBER MASTERPIECE" 



Ml 



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GREENE 5 GREENE 



Pasadena, Cal . April 30, 1914. 



Redwood 1b a beautiful vrood for interior work and 
may be finished in a great variety of ways. 

Greene t Greene. 






April 23, 1914 



Oentlaoen: 

In resporBe to your inquiry as to our eiperlance 
In the use of red-»ood for interior finish, irould adviae 
that »e have found it to be admirably adapted to this 
purpoae. In the Pacific Union Olub building, of this city, 
particularly satisfactory results were secured where redwood 
was used in the special finish of several of the nain rooms, 
the wood lending Itself to fine results in staining and 
finishing. 




BEAUTIFUL CALIFORNIA REDWOOD FOR FINE INTERIOR TRIM: 
"EVERY INCH A STUDY— EVERY FOOT A PICTURE." 



CALIFORNIA 'REDWOOD 

"nature's ' LUMBER' MASTERPFECE" 







April 24, 1914. 



Gentlemen: 

Referring to your inquiry as to what I 
think of redwood flnleh, I am pleased to etate 
that I am using redwood for Interior flnle'i In a 
nundaer of fine reBldenoee and consider It for 
all around purposes the besx soft wood finish that 
iB available. Hot only is it free from pitch, but 
when proparly seasoned it v.lll not shrink or swell, 
consequently a job of redwood interior finish looks 
well not only to begin with but afta- it has been in 
use for a long time. 

The wood is soft and easily worked and takes 
all kinds of stain readily. The natural color of 
the redwood Is attractive and unusual and a great 
variety of different effects can be obtained by the 
use of acids, burning, lye, etc. 

I believe 

it is the mos* satisfactory iLaterial for a first 
class Job of enamel work. 

Yours very truly, 



BEAUTIFUL CALIFORNIA REDWOOD FOR FINE INTERIOR TRIM; 
"EVERY INCH A STUDY— EVERY FOOT A PICTURE.- 



I'Oijr :ii.rfy-iiir, 



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CALIFORNIA REDWOOD 

"NATURE'S LUMBER MASTERPIECE" 




aSMOIfrcOMERYSTBEET 
SAN FBANCISCO, CALITORNIA 



Apr. 8, I9I5. 



Crosby Advertising Aganoy, 
F^lllIIlan Bldg. , 
Chioago. 

Centlemen:- 

Mr . Junius H. Erovma has requested that W6 write 
you stating our rsasons for using redwood as an Interior finish. 
W9 hav9 sat forth soms of our viSTs in the folloiflng. There 
ars othsr reasons , but we hope that the reasons we give will 
appeal to those who wish to build beautiful interiors. 

We nav3 used the wood frequently in the better rooms 
of Bcmll houses, firstly, fron a desire to get away from the 
paint cn-i putty t3ndenoy tc cover up a multitude of Im'perfeot- 
ions , at the sac-.e time avoiding the cracks in plaster, whloU 
must be jo/sred with wall paper and kept in constant repair. 
Secondly, by unjr.j', the sanded natural redwood in simple boards 
and r^citter.B, ive obtained a rich looking room at a cost nearly 
the sane is tf it of plaster 

We often use the wood in club houses and churches , 
and It is parti jularly good for concert halls , because, as the 
wood drlSG out and ages, it aot e like ths shell of a violin. 
Left in its natural state, the bruises and dcratohes ultimate- 
ly tai-.e the sane color as the wood, and therefore do not show. 
Per the sans reason rooms with reavrood finish n-.&y remain for 
yo.<ro without changing, and should any one wish to renow the 
olJ rurfaoe, he can get a beautiful finish By sand-blasting. 
Very truly yours, 

Waybeok & miite . 



BEAUTIFUL CALIFORNIA REDWOOD FOR FINE INTERIOR TRIM; 
"EVERY INCH A STUDY— EVERY FOOT A PICTURE." 



^> 



CALIFORNIA REDWOOD )^ 

"NATURE'S LUMBER MASTERPIECE" -' * 



< 



CHAPMAN & FltAZER 

ARCHITECTS 

HOMCI S. niAUD 

Ho. Ill WtTCR STREET 



BOSTON.^pT-ll 20th. 1915. 



Oentleinen:- 

Ur. Rollins has refflrre'l your letter of April 8th. to us. 
»9 aro Bending you today a pholo£;raph. I h^vo Used a groat 
deal of redwood and slmoKl Inw.irlably finish It ttlth a ooat of oil, 
touching up any light ■oo'l with a little ntaln, than a ooat of 
orangft ehellac, sandpapered, and a coat of wax thoroughly rubbed 
m. I have found that this treatment gives the pleaeantest roaults. 
Yours very truly. 

Chapman * Fraaer, 

H S. Prazer. 



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CouiB (BJjriBtian JBuUgarftl 3?. A. 3. A. 

Arrljitftt 

(Sliranirlr luil&ing- 

ftan JFranrtaro Msy £8. 1915. 



California Sedwood issoolation 
San Prancisoo. Cal. 



I am pleased to Indicate mj appreciation 
for exoeytlonal opportunitisa which your product 
affords iu the construction of buildicga. 

Redwood may be advantage oualy ueed in 
every manner in which other finishing woods are 
customarily ueod. It is renowned ror its durability 
against the ravages of time. Structural and artlatio 
effects are obtainable, differing from and surpc.ssing 
In quality man,y bo celled hardwoods. It is oasj to 
fatrieate and therefore insure.- ecOiioir.io results. 



Very truly yora-:;, 





BEAUTIFUL CALIFORNIA REDWOOD FOR FINE INTERIOR TRIM; 
"EVERY INCH A STUDY— EVERY FOOT A PICTURE." 



Page Sixty-five 



REPRINTED BELOW ARE LITERAL EXCERPTS FROM THE 

UNITED STATES GOVERNMENT REPORT 

(Department of Agriculture, Forest Service, 1911) on 
CALIFORNIA REDWOOD 

{Sequoia Sempervirens) 
Physical Properties: 

Breaking strength (modulus of rupture). 8,000 pounds per square inch, on pieces 
2 by 2 by 30 inches at moisture of 15.7. {Forest Service.) 

Factor of stiffness (modulus of elasticity). 1,140,000 pounds per square inch, 
on pieces 2 by 2 by 30 inches at moisture of 15.7. {Forest Service.) 

Character and qualities. Light, soft, moderately strong, brittle, grain fine, 
even, straight, sometimes curly; annual rings wide in the young timber, 
summerwood thin, dark colored, hard, conspicuous; medullary rays 
numerous, very obscure; color light to dark red, the thin sapwood nearly 
white; splits and works easily and polishes well; very durable in contact 
with the soil. 

Interior Finish: 
"As in house construction, so in interior finish, Redwood meets 
almost every use and requirement. Floors and ceilings are made 
of it, and wainscoting, panels, moldings, chair boards, brackets, 
shelves, railing, stair-work, spindles, balustrades and mantels. 
Formerly such work was often painted, and the grain of the wood 
was concealed, but the practice is now less common since the 
natural beauty of the wood is better appreciated. Its colors 
are rich and varied, and the finisher who understands the art 
of bringing out their best qualities can please almost any taste. 
It is a beautiful wood for carving, and is often so employed. 
The wood of all Redwood trees is not of the same color, nor are 
different parts of the same tree alike. The soil and situation 
where the tree grows have much to do with it. Shades range from 
light cherry to deep mahogany. Where the soil is light, the wood 
resembles Spanish cedar. Some grains are so straight that boards 
may be split 2 inches thick, 12 inches wide, and 10 or 12 feet long. 
(See foot-note.) In other cases the texture is so complicated and 
involved that all semblance to orderly wood is lost. Such wide 
extremes in grain and color give the carpenter and finisher their 
opportunity to make combinations to harmonize with nearly 
every kind of surroundings. Perfect boards of such width and 
length may be had that panels, shelves and counter tops of nearly 
any desired size may be made from a single piece. A panel of 
that kind has an added value, because the wood warps practically 
not at all, shrinks little and disfiguration from swelling need not 
be feared. If it is deemed desirable to darken the natural color 
of the wood, it can be done with oils. By well-known methods of 
treatment, imitation of rosewood and mahogany may be produced. 

"The making of Redwood doors has been an important business. 
They are handsome, strong, light, and hold their shape well under 
changes of climate. Swelling and shrinkage, which give much 
trouble with doors of various other woods, are reduced to a mini- 
mum with Redwood. 

"Note: There are buildings in the Redwood districts constructed of split 
boards, and so evenly is the splitting sometimes done that a rather close 
examination is necessary to discover that it is not the product of a sawmill." 

ON PAGE 2 you ivill find indexed the various points of interest in this book. 



RCDWOOO 






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B EAUT » FU L , E fj I>J4,BJL N G , FIttE, -RESISTANT , S A. N I T A, R,Y 



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un. 



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— z///rs.yMef. 



e/nans. 




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CALIFORNIA REDWOOD: EVERY INCH A STUDY — EVERY FOOT A PICTU RE. 

The subjoined letter from an important lumber consumer in Lima, Peru, 
throws light upon one of the many characteristic virtues restricted to 
Redwood. The immunity of Redwood from the ravages of the " pohlla," 
or white ant of the tropics, is a more valuable point than many may think. 
The white ant has extended his operations as far north as St. Louis, U. S. A., 
and has cost home-b>ailders thousands of dollars. If they had used Red- 
wood they would not even have risked this loss. U. S. Govt. Bulletin 95 
says: "One of the chief properties recommending this [Sanitary Redwood] 
timber ... is its immunity from attack by white ants. The coloring 
substance in the wood is supposed to be the cause of it, and this timber is 
often, perhaps always, untouched whore other timbers may be devoured." 



Lima Lumber Mills Ltd. 



£i„ 



26th Oeoember 1913. 



^ KeBSrO: SPARKS k WKIGHT. 

City. 
Dear Slre:- 

ReplTlng to your favour of this date we have pleasure In stating 
that we have hafl a long experlenoe of California Redwood t we have found It 
a most suitable kind of lumber for all purposes of Carpentry Work.ffe uae 
It almost eioluslvely for Doors, Windows &e In our Psotory with the best re- 
sults. It is easy to work & is not attaokad by the "polllla" as Is the osea 
with whits Pine & other soft woods. 

Vlshlng you the compliments of the season, 
»e are, tours very truly. 



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Prinlod »ii<l Assembled by Toby Biibo>iM. Chi<-«go 





WE THANK YOU 

for your generous attention and 
trust that your acquaintance with 
REDWOOD may become more 
personal, and remain delightful. 





California Hedwooct:' ''Nalure's Lumber Masterpiece 



■ nri 








;1K '«.,^,. 



"Tlicic Kediijood Forest:, Belong to an Entirely Different 
Geological Period From the Growth Upon any Other Portion 
of the Continent. Many of the Lar^e Trees are Upwards 
of Four Thousand Years Old." {Article by Mr. C. L. Greyson.) 




Toby Bnbovit*. CliirHitt 






n 

BEAUTl FIJ U , ENQUIRING .F^aB -Rj;S^JSTANT , .SAN f,T A JE^^^ rj 





CALIFORNIA REDWOOD: WITH AUTUMN GREEN' FINISH 



Plate IX 



r 



AL I P O Riv 



1^ J . /'' N A T ,XJ R, E • S L U M; B E FL IVI A S T E, R, P 1 E C E " ,L 








■<ifc'.-A--^». .w « aAiiiij*i i i« l m i j ! »fc i iMM^ i »B iii^^^ 



iliiy„li.M.ii I i UiA, 



CALIFORNIA REDWOOD: WITH SILVER GREV FINISH 



Plate X 






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017 111 490 1 






